MUSIC ACKNOWLEDGEMENTS
I am most grateful for the friendly help I have had over the years from numerous representatives of music publishing houses, including David Allenby, Susan Bamert and Janis Susskind of Boosey & Hawkes, Rosemary Johnson and Jane Wilson of Chester Music, Bálint András Varga of Editio Musica Budapest and later Universal Edition, Sally Cavender of Faber Music, Graham Hayter of Peters Edition, Avril James of Ricordi, Sally Groves and Ulrike Müller of Schott, Suzanne Stephens of Stockhausen Verlag, Christopher Saward of United Music Publishers, and Eric Forder of Universal Edition.I am also indebted to the companies who have generously allowed me to quote from published scores as follows.
Ex. 1 Boulez: Sonatina Reproduced by kind permission of Editions Amphion (Paris)/United Music Publishers Ltd.
Ex. 2 Boulez: Piano Sonata No. 2 Reproduced by kind permission of Editions Heugel et Cie. (Paris)/United Music Publishers Ltd.
Ex. 3 Nono: Variazioni canoniche © by G. Ricordi & Co. (London) Ltd., reproduced by permission
Ex. 4 Cage: Sonatas and Interludes Reproduced by kind permission of C. F. Peters Corporation ( New York)
Ex. 5 Cage: Music of Changes Reproduced by kind permission of C. F. Peters Corporation ( New York)
Ex. 6 Messiaen: Mode de valeurs et d'intensités Reproduced by kind permission of Editions Durand (Paris)/ United Music Publishers Ltd.
Ex. 7 Stockhausen: Kreuzspiel Reproduced by kind permission of Universal Edition (London) Ltd.
Ex. 8 Boulez: Structures Ib Reproduced by kind permission of Universal Edition (London) Ltd.
Ex. 9 Nono: Ysu sangre ya viene cantando Reproduced by kind permission of Schott & Co. Ltd.
Ex. 10 Stockhausen: Studie II Reproduced by kind permission of Stockhausen Verlag
Ex. 11 Barraqué: Piano Sonata Reproduced by kind permission of Editore Bruzzichelli
Ex. 12 Carter. String Quartet No. 1 Reproduced by kind permission of Associated Music Publishers/G. Schirmer

-v-

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Modern Music and After
Table of contents

Table of contents

  • Title Page iii
  • Music Acknowledgements v
  • Contents xi
  • Prelude xiii
  • Part I - Beginning Again: from 1945 to the Early 1960s 1
  • Europe 1: Commencement, 1945-1951 3
  • America 1: Silencing Music, 1946-1952 21
  • Europe 2: Total Organization, 1949-1954 29
  • America 2: Classic Modernism 50
  • Europe 3: Achievement, 1953-1957 70
  • America 3: After Silence, 1952-1961 94
  • Europe 4: Mobile Form, 1956-1962 104
  • Elder Responses 116
  • Europe 5: Disintegrations,1959-1964 135
  • Part II - Six Waves and Five Masters: the 1960s and 1970s 149
  • Of Elsewhen and Elsewhere 151
  • Music Theatre 171
  • Politics 185
  • Virtuosity and Improvisation 191
  • Computer Music 207
  • Minimalism and Melody 209
  • Five Masters 225
  • Part III - Many Rivers: the 1980s and 1990s 237
  • Strings and Knots 239
  • Postlude 328
  • Repertory 330
  • Index 363
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